Sergei Eisenstein: „The Montage of Film Attraction“

European Cinema Reader, ed. Catherine Fowler, Routledge 2002

cinema as a factor for exercising emotional influence over the masses…

purpose of cinema – influencing audience in the desired direction through series of calculated pressures on it’s psyche…

there are not only intellectual means at work, rather it is a series of blows to the conciousness and emotion of the audience…

real satisfaction (both physical and moral) through motor imitation of the action by those perceiving it [?] and through psychological empathy…

„Cinema, like theatre, makes sense only as ‘one form of pressure’. There is difference in their methods but they have one basic device in common: the montage of attractions…“

Eisenstein points out that this concept can be used as an objective tool both for film analysis and criticism…

„An attraction is in our understanding any demonstrable fact (an action, an object, a phenomenon, a concious combinaation etc.) that is known and proven to excercise a definite effect on the attention and emotions of the audience and that, combined with others, possesses the charactersitic of concentrating the audiences emotions in any direction dictated by the production’s purpose. From this point of view a film cannot be a simple presentation or demonstration of events: rather it must be a tendentious selectoin of, and comparision between, events, free from narrowly plot-related plans and moulding the audience in accordance with its purpose.“ p. 26

[Eisenstein on muidugi ka propaganda meister, kuid siinkohal tuleb siiski meeles pidada, et ta räägib ikkagi eeskätt filmi süntaksist, mille iseäraks on asjaolu, et selle elemendid koosnevad juba visuaalselt mitmekihilistest ja semantiliselt laetud üksustest - representatsioonidest; tõsiasi, et lausungil on eesmärk, ei ütle veel midagi selle kohta, mis on eesmärgi enda tagamaa; Eisensteini filmipragmaatika ei ole küüniline, see lihtsalt tunnistab ilmselget asjaolu, et mitte ükski lõik filmi ei sünni spontaanselt samas mõttes nagu võib sündida spontaanne luuletus, mis võidakse kirjutatakse paberile omamoodi automatismina; kui ka filmi sünnile eelneb spontaanne poeetiline visioon autori teadvuses, siis eesmärk vahendada seda visiooni publiku teadvusele on juba kahtlemata kalkuleeritud tegevus ning selle eesmärgi saavutamise protsess eeldab seda, mida Eisenstein ütleb filmi olevat: „a montage of attractions“.]